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Blueprint for Quality Enhancement at
USC
SCHOOL OF MUSIC
2012
First Draft
3/19/12
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I.
EXECUTIVE SUMMARY
A. Top ten public comprehensive colleges of music: Indiana; Michigan; Cincinnati; North
Texas; Florida State; Illinois; Texas-Austin; Iowa; Arizona State; Wisconsin. Peers:
UNC-Greensboro; Colorado; Ohio State; Oklahoma; LSU
B. Top Strengths and Significant Achievements since 2007
1. Re-accreditation in Good Standing without deferment (occurs only 11% of all reaccreditation cases) by the National Association of Schools of Music (NASM), Spring 2010.
2. Significant national awards for programs, faculty, staff and students from:
a. Prix de Rome in Composition
b. Guggenheim Fellowship in Composition
c. National Opera Association
d. National Assoc of Teachers of Singing
e. College Music Society
f. American String Teachers Association
g. American Bandmasters Assoc
h. American Choral Directors Association
3. Significant enhancement of dollars available for undergraduate scholarships from
$450,000 available in 2005 to $820,000 available in 2012
4. Quality of the Music Education degree programs, especially the unique string program
5. Quality of the large ensembles and graduate conducting degree programs associated,
especially band, opera, choral, and jazz
6. Significant upgrade of the quality of the performance faculty and expectations of students
7. Significant growth in financial competitiveness of graduate assistant positions
~8. and 9.—each highlighted by NASM as a strength in the 2010 Visitors’ Report:~
8. The development and implementation of the Carolina Institute for Leadership and
Engagement in Music
9. Development and enhancement of the Community Music School and the School’s
Music For Your Life Initiative of component community programs and its
applicability to the USCConnect Quality Enhancement Plan.
C. Weaknesses/Plans
1. Though we have made progress, funding for graduate students lags competing institutions.
The School of Music routinely loses the highest quality applicants for graduate study:
a. due to insufficient # of graduate assistantship positions to attract students who
audition here and wish to study at Carolina, and
b. due to insufficient funding of stipends for existing graduate assistantship positions.
The provost became aware of this situation at his Sept 2009 School of Music Visit and during the
Dean’s Review of Dr. Harding during the spring of 2011. As a result the Provost augmented the
School of Music budget in July 2010 for FY 2010 and beyond with an additional recurring $80k in
A funds to target then-low tuition abatements of some critical existing Graduates Assistant
positions in the School, taking them to full-time (9 crs in Music). He also augmented the School’s
recurring budget beginning in FY 2011 and beyond with an additional $120k in A funds to target
low tuition abatements FOR ALL existing Graduates Assistant positions in the School, taking all 58
of them to full-time (9 crs in Music). The School has leveraged this $ and is now devoting some
new unrestricted funds currently targeted for undergraduate scholarships for two new graduate
assistant positions, one begun in FY 2010 and one in FY 2011, as well as to assist with adjusting
the tuition abatements to stay current with annual tuition increases. The School developed a
GRADUATE PROGRAM ENHANCEMENT PLAN in Fall 2010 that addresses all matters related
to the funding of necessary graduate assistantship positions (existing and projected new ones for
meeting School needs and priorities) over the next six years. The Provost’s $120,000 recurring
commitment starting with FY 2011 represents an initial approval of the first year of this plan, but
now the second year is passing without being able to sustain funding attention to the subsequent
years of the plan.
2. Information Technology--Through both internal funds redirection and the efforts of a
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significant faculty retention effort, the School will employ three-full time IT personnel
beginning Fall 2012 to handle all of our infrastructure, database usage, user support, email
systems, and media content and web presence. This is up from just one full-time position
augmented by an ineffective part-time second person before Fall of 2010.
II. GOALS
A. Primary Five-Year Goals
GOAL 1: The School of Music will enhance the quality of and environment for
teaching and learning in the School.
This goal is at the heart of the music unit’s function, fundamental to the
achievement of its mission and central to the fulfillment of its vision. It
consists of three main objectives: FACULTY Enhancements and Teaching
model evolution; Curricular and PROGRAM Enhancements; FACILITIES
Enhancements.
FACULTY: The School of Music cut four tenured and tenure-track
positions as vacancies and retirements in appropriate areas occurred
between Oct 2008 and June 2011. As a result, the School expected to
depend more upon non-tenure eligible (NTE) faculty for the coursework to
be taught in the academic areas in music: theory, ear-training, and music
history, as well as in several more performance-oriented areas where there
are smaller enrollments and where these smaller enrollments do not
endanger the overall quality of the School (the School’s organ program,
and its nationally-renowned graduate piano pedagogy program). Success
with the FRI exercise in FY 11 and FY 12 has resulted in the School being
able to hire back two of these four “lost positions” (music history and
piano pedagogy) for 2012 and 13 respectively. The School’s need to
consider spousal and partner hires have occurred with greater regularity at
the same time as the loss of these positions in surprisingly applicable areas
(music history a main one). The School will need to carefully strategize
its future hiring in the case of vacancies or replenishment initiatives to
balance the emerging needs for new instruction in the School with these
areas where cuts to tenured lines have dictated that the relevant teaching
be delivered by NTEs. Current priorities are theory, jazz, and voice.
Faculty enhancement must also include a salary exercise when available as
morale is deteriorating quickly with no raises to already-low salaries since
2007. This is true of staff too, and the Dean of the School will need to
attend to Pay for Performance raises, with Provost office assistance, if
possible, to retain the School’s chief classified staff officer, Laveta
Gibson, and the School’s budget manager, Rhonda Gibson, the latter of
whose job duties have growth significantly since her last merit-based
raise. $12,000 new recurring is necessary to attend to this vital need. And
lastly, the Provost transferred to the school $35,000 recurring dollars
early in FY 11 to allow the Dean of the School to attend to faculty
retention, dual career, and sabbatical needs of the faculty. Those funds
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were completely used up by January 15, 2012 and so the School must
come back to the Provost with a FY 13 request to re-built that budget item
as was expected.
PROGRAM: NASM recommended in its 2010 Visitors Report on our reaccreditation that the School consider shutting down the MM Theory
degree if a second tenure-eligible theory hire was not forthcoming.
Because a FY10 budget reduction forced the elimination of the line, the
School recommended in 2010 that the MM Theory be discontinued and it
has been. Further, a proposal has been submitted in FY 12 by the School
of Music, through Kris Finingan and the Provost’s office, to the CHE that
consolidates most of the School’s distinct Master of Music programs into
a single MM in Music with distinct concentrations in each of the subdisciplines identified for consolidation—piano pedagogy, opera
production, music history, music composition and conducting. Only the
School’s distinctly missioned and traditionally highly-enrolled masters
degrees in Performance and Music Education remain as separate degrees
at that level. As this new alignment of consolidated MMs provides for a
single degree that would embrace multiple concentrations, and as the
School will be pursuing a new position in Theory through the FY 13 FRI,
the School may wish to pursue a renewal of the offering of a concentration
in the newly constituted Master of Music that would comprise Music
Theory. The School further wishes to remain proactive with respect to the
future of its current degrees and the possibilities of new ones as markets
and opportunities emerge for the School to deliver a needed program (a
BS in Recording is in the approval process currently, and plans are
progressing to develop a graduate track in string pedagogy to be offered as
a part of the newly consolidated MM. This concentration would be the
actualization of some of the goals of what was the school’s last FEI hire of
that initiative three years ago.) Each of the School’s existing graduate
programs will undergo enhancement as a result of the recent efforts of the
provost to improve the funding for assistantship positions in all areas of
the School. More remains to be done as part of the School’s 2011
Graduate Program Enhancement Plan (including an increase in stipends
and an increase in the number of new and continuing available
assistantship positions), but great progress has been made and its results
will be evident in 2012-13.
Finally, since the change in the camups budget model, the school is unable
to capture a portion of tuition dollars to help meet annual instructional
costs directly. Anytime a music (or CarolinaLIFE) student wishes to study
private applied music on an instrument or voice with an instructor who is
not salaried but is instead paid per student, the School must compensate
this faculty member a figure that goes beyond the Music Enrichment fees
collected to help defray the magnitude of the cost. In the old budget days,
we captured more than enough funds in fees and tuition to allow a student
to engage in this kind of study. Now, we lose roughly $850 per student
each term for whom we allow this instruction. This shortage has not been
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of a level acute enough to date for the School to request dollars
specifically from the provost. But in 2011-12 we had to deny 17 students
such study, in some cases complicating their degree plans and suggested
course sequences in their academic programs. We must find a way to be
able to afford to provide this study. Projecting 20 such requests in FY 13
at $850 per student, an additional $17,000 is required to permit this often
vital instruction.
FACILITIES: In 2010 the School of Music secured a commitment from
the University, its BoT, and the Provost’s office to fund the upfit of the
500-seat classroom projected for the new Moore School of Business
building in Innovista into a mid-sized concert hall for the School. This
facility is scheduled to come on line in 2014. It will be shared by the
Moore School for weekday classes and by the School of Music for
nighttime and weekend rehearsals and performances. NASM recognized
this achievement by re-accrediting the School of Music in good standing
in May 2010 despite current standards non-compliance with respect to
performance facilities, asking the School only for a progress report on the
development and implementation of the hall due by May 1, 2012. This
facility will provide the School with a suitable home for choral and jazz
concerts for which existing on-campus homes are not available. It will
also ease the scheduling difficulties with both the School’s Recital Hall
and the Koger Center—the latter whose annual calendar of non-University
and non-community events is becoming increasingly difficult for the
School to navigate. This new hall in the Moore School will maximize the
student performance, learning, and achievement at the heart of the
educational mission of the School of Music. While the School of Music
waits for the delivery of the new Moore School hall, the School maintains
its 2011 agreement with the Greene St United Methodist Church—at the
corner of Assembly and Greene across the street from the Koger Center
and the planned new Moore School--to deliver some of the School’s
concerts, recitals and rehearsals in the church sanctuary weekly throughout
the year. While not a long-term answer to the performance facility
limitations of the School, the use of the church has eased up the
difficulties with accommodating all the School of Music needs and
requests for its own Recital Hall that will occur in the months and years
between 2012 and the 2014 delivery of the Moore School facility.
The Band/Dance facility is now being maximized in an outstanding
partnership between the School of Music and the College of Arts and
Science’s Dept of Theatre and Dance. It is a model of cooperation
between different academic units of differing missions in disparate
colleges and remains one of America’s best facilities for marching band
practice and administration.
Another meaningful partnership with the CoA&S is the use of Drayton
Hall, controlled as both an academic/production facility and source of
operating income for the Dept of Theatre and Dance. The Dean of the
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CoA&S has committed to the School of Music the funds necessary to rent
Drayton Hall for the two fully produced operas on its Opera@ USC
annual calendar. These occur in November and February when the need
for the use of the hall by Theatre and Dance is reduced. This is a
significant achievement for Opera@USC whose lack of a suitable,
schedulable, and affordable performance facility on campus was cited by
the NASM as an out-of-compliance issue during the 2010 re-accreditation
of the School of Music.
All faculty, facilities, and program enhancements necessary for the School
of Music to meet this long term goal serve not only the mission and
vision-pursuit of the School, but also actualize objectives of the Focus
Carolina Teaching and Learning, and make possible much of the School’s
commitment to the undergraduate research and service-learning/
Community Engagement tenets of the USCConnect Quality Enhancement
Program.
GOAL 2: The School of Music will enhance the recruitment and admission of
outstanding students.
The most distinctive measure of a School of Music’s achievement is the
quality and accomplishments of its students. Preparing outstanding
students by fully developing their potential is a practice with which the
USC School of Music is already excellent and nationally known.
Attracting the most capable and highly pre-prepared students is vital in
advancing the national competitiveness of its graduates, the recognition of
the school, and to achieving its vision as the southeast’s premier public
university music school for the preparation of tomorrow’s professional
musicians. The School has in recent years managed its enrollment very
carefully to be between 450 and 480 each year. The current Music
Building and previous band/string project hall were not designed to
accommodate more majors than this, nor could the size of the faculty or
the size of the scholarship and assistantship budgets support a larger
enrollment.
As a result of the Faculty Excellence Initiative 2005-9, as a result of
adapting the teaching model to more full-time NTE faculty and fewer
tenure-eligible ones in reaction to the budget reductions and cuts to tenureeligible positions, and as the FRI now begins to provide new faculty as
well, the School has actually grown its instructional faculty and course
offerings. Additionally, as the size of usable square footage for musical
endeavor grew with the 2008 completion of the String Project facility and
the 2009 completion of the Band/Dance Hall, the School of Music has
entered into a new phase of planning to determine its ideal student body
size and scope and then provide for its implementation.
Matriculating a greater percentage of the very best students the School
auditions is the subtext of GOAL 2--to do so requires fine facilities, an
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excellent faculty, outstanding degrees and musical programs, and adequate
undergraduate scholarship funds and graduate assistantship dollars to be
competitive. The USC School of Music possesses each of the factors
listed here except for competitive assistantship awards and, after several
consecutive years of higher yields of top undergraduate students, adequate
scholarship dollars. Additionally, the School falls further and further
behind in these categories as what was once a substantial budget capable
of providing very competitive awards lags behind institutional tuition
increases each and every year. A $57,000 recurring increase to the
School’s A002 Tuition Waiver Scholarship pool (4% tuition funds)
beginning in FY 13 will have an immediate positive effect on u-grad
student recruitment in FY13 and a compounding effect in the next several
years beyond the initial implementation. A $1M bequest from James
Copenhaver announced in Jan 2012 to result in an additional $50k per year
for band scholarships upon its transfer to the School and maturity will
have an even greater impact.
Further, initiatives and actions developed to address this goal in the
Blueprints 2006-2011, in the Dean’s Five Year Review process in Spring
2011, and as a result of the Provost Amiridis’ Fall 2009 and Spring 2011
meetings with Music faculty have resulted in the School’s 2010 Graduate
Enhancement Plan (GEP) which in turned has led to a Provost
commitment of a total of $200,000 of new recurring dollars to bring all
graduate assistantship positions to a full nine-credits of tuition paid—the
first priority articulated in the GEP. This has been a SIGNIFICANT
enhancement to and investment in the School.
In the end, meaningful progress on u-grad scholarships and graduate
assistantship enhancements will be a function of the results of the
CAROLINA’S PROMISE capital campaign, not the systematic granting
of new dollars from the Provost’s office or Student Affairs.
A modest but necessary investment of an additional $10,000 recurring
dollars for the annual budget of the School’s Office of Admissions is
necessary, though, to stay current with inflation given the fact that this
office has not had an increase in its budget since 2004, and has been overbudget in each of the last two fiscal years revealing higher costs for
identical services and activities. This report will identify this need as a
request to the Provost’s office for new recurring funding.
Pursuit and attainment of Goal 2. relates to any number of USCConnect
priorities and actions, and the accomplishment of indicators of success
with this goal correspond to several main pillars of the QEP as well-undergraduate research, leadership, and service-learning/ Community
Engagement. School of Music progress on this goal also actualizes
progress towards the achievement of several Focus Carolina goals,
including Teaching and Learning (nearly all excellent learning achieved in
music is accomplished as a result of attaining a critical mass of
outstanding students. Unlike many disciplines but like team sports and
other performing arts, the success of meaningful learning experiences for
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every music student is dependent upon the quality of his/her companion
students). A further purposeful fulfillment of Goal 2. is that the Focus
Carolina goal, Quality of Life in the University Community must be
heavily impacted. A planned improvement to the Carolina Marching Band
is but one indicator of this impact. The University depends on a vibrant
School of Music to enhance the tenets of this goal, and attracting and
retaining a high-quality student body is an essential element to
maintaining a vibrant School of Music.
GOAL 3. The School of Music will expand its scope of instruction, experiences, and
engagement with developing musical leaders from its student body, faculty,
and staff in an effort to improve the lives of citizens in the communities
it and they serve through music.
This goal is concerned with seeking new methods for meeting existing
standards, a course of action essential for tomorrow’s elite national music
schools to pursue and the heart of the mission of the Carolina Institute for
Leadership and Engagement in Music (CILEM). Standards-based music
instruction remains most seminal to the training of the professional
musician. Providing emerging systematic engagement practices, such as
pedagogical and advocacy training has resulted and will continue to even
more fully result in meaningful audience interaction and experience for all
professional music students, not just those in music education where this
technique has traditionally been employed. Such instructional experiences
are being and must continue to be developed throughout the study of
music’s sub-disciplines (theory, performance, musicology, music
education, composition, pedagogy, conducting etc…) in the School.
Further, the School is replacing what was a per course position for a music
entrepreneurship faculty member who left the university in May 2011 with
an FRI-approved tenure-track position in music entrepreneurship, one of
America’s first, to lead that leadership component at the School and to
manage the School’s nationally unique music entrepreneurship minor.
The position is in interviews at the writing of this Blueprint. In its
Visitors’ Report of March 2010, the NASM highlighted the school’s work
with this goal and its objectives and actions, in CILEM, in the Music For
Your Life Initiative of community engagement programs in the School,
and in the School’s evolving culture that reflects the values represented by
these initiatives, as strengths of the school.
Pursuit and attainment of GOAL 3. relates to several Focus Carolina goals,
including Teaching and Learning (as a great deal of the preparation of musical
leaders influences and is impacted by instruction and outcomes achievement), and
Research, Scholarship and Creative Achievement. A further purposeful
fulfillment of GOAL 3. is that the Focus Carolina goal, Service Excellence, is
pursued by the School’s programs in leadership training and is inherently linked
to the School’s community programming, the Music for Your Life Initiative, that
represents one of the University’s finest examples of Carnegie Endowment-
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recognized community engagement excellence at USC. Work towards this goal
actualizes meaningful correlation to the following beyond-the-classroom tenets of
USCConnect as well: internationalization/ globalization/study abroad,
undergraduate research, service-learning/ Community Engagement, and most
especially and uniquely, leadership. Finally, it should be noted that both the
articulation of and actionable pursuit of the School of Music’s Goal 3. places the
School as a model and leader among academic units at USC with respect to its
applicability to the mission and objectives of the broader USC campus Carolina
Leadership Initiative (CLI).
GOAL 4: The School of Music will enhance its performance on the applicable
measures of the Academic Dashboard—two of the four student metrics:
6 yr grad rate; freshman-sophomore retention rate and each of the
faculty ones: doctoral degrees granted, student-to-faculty ratio, and
“faculty national/international achievement” (School of Music
substitute for both research expenditures and national awards)
The School of Music is committed to both increasing its dashboard productivity
where it can, and to maximizing university target attainment by making the
necessary positive contributions it can to the overall dashboard achievements. As
the SAT scores of entering music students and the overall ugrad enrollment at
USC are natural outgrowths of the school fulfilling its admission and recruitment
commitment to its own musical mission and to the university’s desires, the School
has been unable to identify actions it could take to make more positive either of
the dashboard measures. Our enrollment is managed and SAT scores--though
high for music freshman and very high when factoring out special admits that are
often required for competitiveness in music--are not the primary measure we use
to determine the quality of our freshman class. As a result, the School is
providing the attention and resources necessary to accomplish greater
performance on the other student dashboard measures, 6 yr graduation rate and
freshman-sophomore retention rate.
The School’s most recent freshman-sophomore retention rate (2010 cohort) was
79.5% (including those changing majors to other USC Schools). That figure was
down from the previous two years when it was in the mid 80s. The School’s
Scholarship and Enrollment Management Committee has studied this data and
concluded that while it is not possible to know all of the exact reasons why there
has been this decline, the escalating inadequacy of scholarship funding to
approximate the cost of tuition through FY 12 has resulted in more students
dropping out as they either can no longer afford to stay in school, or as a result of
their losing their lottery-funded scholarships due to substandard academic
performance. We have been able to identify a handful of students for whom these
postulates were true in 2010. As the statistics remain several years behind, we are
not sure what will happen with 2011 rates, but we are re-doubling our efforts to
award scholarship dollars to music ugrads adequately to assist their remaining in
school, and setting aside more discretionary scholarship dollars to assist freshman
with direct awards as they become at risk for financially-motivated drop out
during that year. The School’s target is to get the combined “same school” and
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“other school” total retention rate to 85% by the time 2012’s cohort is
understood.
The School’s 6 yr graduation rate has been on a steady rise for years. Its 2005
cohort (4 yr projected grad date: 2008-9, 6yr: 2010-11) achieved 72.9%. We
anticipate that the 2011-12 6yr measurable cohort (2006 entry) will be higher than
that still, and that by May 2012 when the 2006 cohort reaches its 6 yr limit, the
rate could be as high as 75%. The School will engage in the following actions to
assure a continuingly rising rate, that achieves our 2013 (2007 start) target of
76%: 1) an ever more selective recruitment and admissions process, assuring
more students able to complete our program are enrolled; 2) an increase in the f-s
retention rate as identified above, and 3) more and better quality professional
training in the necessary extra-musical skills and behaviors necessary for musical
careers that are a feature of the school’s leadership institute and evolving
companion culture.
As it relates to faculty-associated dashboard measures, the School has embraced
two of these just as they are described by the university: student-faculty ratio and
doctoral degrees granted. The School boasts among the lowest student to
tenured/tenure-track faculty ratios on the campus, at roughly 10.22 to 1 with
approximately 460 students corresponding to 45 tenured and tenure-track faculty.
As FRI enhances the size of the faculty and enrollment stays approximately
capped in management, the ratio will go down further still. Our target for 201213 is 9.58 to 1.
We currently graduate between 10 and 12 doctoral students each term. As our
assistantships grow in # (we have added three new positions since 2010-11), and
as the cumulative quality of these individuals grows with the enhanced funding
and advancing reputation of programs and faculty at USC making it more possible
for students to finish in a timely manner, we expect this number to increase. Our
2012-13 goal for doctoral degrees granted is 14.
It is possible for the School to address each of these initially outlined student and
faculty dashboard measures without additional new funding.
And finally, as we in Music typically find national and international faculty
recognition in ways other than through research funding/expenditures, and
through the “Lombardi Report” awards, the School has identified several
alternative measures to review when judging the dashboard achievement of
faculty accomplishment. Though the School will announce two major Lombardiidentified awards its faculty has been granted in April 2012 after this initial
Blueprint draft is submitted, it remains only viable to largely measure the
accomplishment of faculty analogous to these awards through other recognitions
unique to music. We are calling these “Faculty National/International
Achievement.” It is difficult to quantify these dashboard measures as well. But,
we will attempt to do so by designating certain national and international
recognitions that the music profession generally holds in the highest esteem,
justifying each one attained each year as such. Our goal with such attainments is
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to target 7 of these achieved in 2012-13. In order to facilitate the commitment
necessary to place our faculty in positions where such recognition can be earned,
we must be able to award them more travel reimbursement funding, as many of
these recognitions will be bestowed from a national and international visibility
that stipends and honoraria from non-university sources simply do not provide.
Faculty start-up commitments from the provost’s office have made an enormous
difference in this for new faculty, but the ability to do it beyond the first three
years of faculty tenure at the school is limited. The Schools’ faculty travel budget
is now $75,000 annually, and we need it to be roughly $100k to facilitate this
requirement. An additional $25k is requested.
B. 2012-13 Academic Year Goals
GOAL 1: The School of Music will increase the number and quality of graduate
students applying for its masters and doctoral programs, and offer more
and better funded graduate assistant positions to these individuals.
See description above regarding Long-Term Goal 2. In 2011-12 for the
admissions season cycle for 2012-13, the School will advertise and
publicize its available and better-funded (full tuition paid) assistantships
more broadly in an effort to attract more highly qualified and superiorly
skilled students. The School will offer each of the assistantship positions
available from its current stock of roughly 62 positions to the highest
qualifying student and work harder to secure commitments from these
individuals to matriculate.
While the enhancement of funding existing graduate assistantship stipends
and creating new positions is a major goal of the CAROLINA’S
PROMISE campaign, the School does request additional help from the
Provost’s office towards its Graduate Program Enhancement Plan for FY
2013. An additional recurring commitment of $33,000 for two new
positions and $62,000 to supply a $1000 stipend enhancement to each of
the sixty-two existing positions would be an appropriate amount for the
School’s newest year.
Pursuit and attainment of GOAL 1. relates to several Focus Carolina goals,
including Teaching and Learning and Research, Scholarship and Creative
Achievement are obvious manifestations of an increase in the quality of graduate
students at the School. Work towards this goal actualizes meaningful correlation
to the following beyond-the-classroom tenets of USCConnect as well:
internationalization/ globalization/study abroad, service-learning/ Community
Engagement, and most especially and uniquely, leadership.
GOAL 2: The School of Music will upgrade its information technology services
and products as well as its web presence and e-commerce services
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The faculty of the School of Music has been dissatisfied and unhappy
with two aspects of the School’s Information Technology for some time:
1. Timeliness and quality of user and desktop support; 2. The School’s
general and specific Web presences. The leadership of the School has redirected some funds from ineffective sources to a single, additional fulltime IT position whose job will be desktop and user support. An effective
person was hired into this position in 2011 resulting in a great deal of
faculty and staff satisfaction. Additionally, the web presence of the
School will be enhanced in 2012 by the addition of both an entirely new
comprehensive website that will be no less than the best collegiate music
website in the US, and funding for the maintenance/housing and content
management of the site and a person to manage and input to it and the
School’s media presence, all secured through the provost’s office as a
function of a significant faculty retention issue in 2010-11.
An increased web presence will correspond directly to several Focus
Carolina goals: Teaching and Learning, Research, Scholarship and
Creative Achievement, and Recognition and Visibility. The e-commerce
applications of the new site will be big boons to the School of Music’s
impact with the other two Focus goals: Service Excellence (event ticket
purchasing convenience and accuracy) and Quality of Life in the
University Community (better publicity of events that improve this quality
of life). Music students are already so in-tuned to beyond-the-classroom
learning through the degree-required performance activities to and for
audiences, and through the teaching and pedagogy deliverables to others
interested in music that are part of their degrees of study, that it is a natural
principle of music instruction in higher education that engagement in
community through service-learning and through undergraduate
research—broadly defined—is achieved. Indeed, even through the launch
of a new web presence and the technological enhancements necessary for
the future delivery of musical experiences, School of Music students and
faculty actualize the relevant values of USCConnect.
GOAL 3. The School of Music will continue the enhancement of its principal
conducted ensembles’ performance, especially that of the Carolina
Marching Band
A new momentum for advancing the development of the Carolina Band
has emerged in 2010-11. A call by President Pastides in the winter of
2011 for a Band Review Committee to be chaired by the Provost was a
driver of this momentum. The call for and charge of the Committee has
inspired two actions by the School of Music and its component band
organization, USC Bands: 1) the development of the Carolina Band:
AVision for its Future document as a point of departure for Band Review
Committee conversations and actions; 2) a change in the personnel
leadership of the band affected in March 2011 by the Dean of the School
of Music. A purposeful execution of this vision document was
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implemented in 2011-12 resulting in a dramatic increase in quality and
reputation for the Carolina Band. A significant FY 12 budget increase for
the band from a university combination of athletics and operations set the
stage for the new leadership to succeed in its first year, 2011-12. A
faculty retention of that leadership has resulted in further commitments in
growth of the budget from similar sources over the course of FYs 13 and
14 that provide the band with a secure future of quality. In addition, USC
Bands has announced and will kick into high gear with the 11/11/11
launch of the USC CAROLINA’S PROMISE Capital Campaign, its own
component campaign entitled Step to the Front: The Campaign for the
Carolina Band. The goals of the campaign are to raise an endowed
amount sufficient to annually yield enough scholarship funds to populate a
band of 325 persons in perpetuity. This goal and actions planned to
achieve it are incorporated into the larger School of Music CAROLINA’S
PROMISE needs as articulated in Goal 4. Below. Jim Copenhaver’s
transformative 2012 bequest is a great start to these efforts.
Another of the School’s ensemble programs, the jazz bands and combos,
remain well supported by endowment earnings, as several donors have
seen fit to support the jazz program over the years. No new funds are
needed for jazz operation at this time to meet the tents of GOAL 3, but
funding the faculty line coming in a FY 2013 FRI request is essential.
The other nationally-renowned and regional admired ensembles in the
School’s firmament of offerings and diverse musical styles have not been
so fortunate as the band and jazz. These include: Opera, Orchestra, and
Choral.
Though the award winning Opera@USC continues to log fantastic
productions year after year, it does so on a shoestring budget, and one that
has not been at all re-built since the mid-year cuts of FY09 that devastated
it. Arts and Sciences making a commitment to help fund the rental of its
facility for performances has helped, as has a stimulus funds investment
for equipment that came in 2010. But there still remains more to do to try
and get this organization back to its already-inadequate funding levels of
FY09. An additional investment of $20k recurring dollars is necessary to
assure the adequate staffing and supplies for the operation of
Opera@USC. This remains a program goal of CAROLINA’S PROMISE,
but is required now.
The USC Symphony operates largely on the revenue stream it generates
from subscription sales to its concert events. In this way, it operates as a
professional-type ensemble and provides its student performers and
student conductors with unique professional-style experiences not
duplicated at rival institutions. But, the organization was also devastated
by FY 09 midyear cuts and its budget has not been adjusted since those
days. With the escalating cost of sheet music and transportation, the
symphony orchestra requires a small $10k recurring investment towards
14
its lost funds now, as we endeavor to build a million dollar endowment for
it to yield an additional $50k annually for the long term.
Finally, the USC Choral Studies area, comprised of three traditional choirs
for many years and a new Gospel Choir created with no new funds in
2011, is among the region’s finest such areas. Three hundred different
students from across campus participate in this area, nearly as many as the
marching band! While the choirs do not enjoy the exposure of the
marching band, they are nonetheless a vital part of the School’s mission,
and are universally beloved among important members of the Columbia
community, representing the quality of our university in profound and
unique ways. Again, as the increasing cost of music, travel, and
transportation of the whole area, as well as funding the salary of the
Gospel Choir director and its various expenses are all new to the choral
area or FY 12, it is critical that the area receive a $15k recurring addition
to its budget for Fy 13 and beyond until such time as its million dollar
endowment is mature and yielding $50k annually.
All Carolina Band improvement/enhancement efforts speak to Service
Excellence, Quality of Life in the University Community, and Recognition
and Visibility goals from Focus Carolina. Further, such band endeavors
also make tangible the principles of USCConnect priorities for service
learning.
GOAL 4: The School of Music will sustain and accelerate its development
momentum of 2011-12 into 2012-13 and beyond as the public phase of
its part of the CAROLINA’S PROMISE capital campaign
The School of Music has successfully partnered with USC to launch its
$10M goal for philanthropic and external giving as its part the Carolina’s
Promise Capital Campaign on 11/11/11. The School has raised almost
half of that amount and in 2012 boasts its largest gift ever committed, the
$1m bequest mentioned above by Jim Copenhaver. This gift has been
leveraged into a challenge by Mr. Copenhaver to be matched by alumni
and friends of the School in order for the School to secure the naming of
the band hall for Mr. Copenhaver.
The needs for the campaign are: Scholarships, Assistantships, and
Fellowships for the very best of tomorrow’s aspiring musicians as
graduates and undergraduates as the student support area of the campaign:
Objective: $3 million. Endowed chairs and professorships constitute the
faculty support area of the campaign, objective $1 million. The programs
and ensembles of the School of Music are key ingredients to its quality
and reach—indispensible parts of and realizations of its mission. The
School of Music is comprehensive in scope, featuring numerous important
programs and ensembles, with opportunities for investing in performance,
The gift of unrestricted support for the band program, University
Symphony, choral program, opera program, Southeastern Piano Festival,
15
and other music programs increase the ability of School faculty and
students to perform, lead, and engage with communities. Enhanced access
to musical experiences is a major priority and represents the program
support area of the campaign. The objective is $5 million. Finally, for
facilities support, it remains critical that the school of Music pursue and
ultimately obtain a facility that will feature opera and perhaps even
musical theatre. Though this need could be met in a variety of ways, with
new or renovated existing buildings on the USC Columbia campus, the
objective is $1 million to assure a basis for obtaining additionally funding
necessary to secure a new performance hall.
As the School’s needs of the campaign embrace faculty, students,
programs, and facilities the activities enhanced through the success of
these funding efforts will be manifested as improvements in each of the
Focus Carolina Goals and support meaningful work in all tenets of
USCConnect as well.
GOAL 5: The School of Music will enhance its visibility
For a variety of local and regional constituents and for a number of
reasons, the fact that the School of Music enjoys a national reputation is
not well known in South Carolina. Locally and throughout the state it is
clear that the USC School of Music provides the finest educational and
performance opportunities for young musicians and musical audiences of
any SC college or university. But it is not well known here just how
significant this impact is, nor how meaningful and relevant what is
accomplished at the School is to much-needed national models for how
music schools can work to make communities better places to live
everywhere. Enhancing the visibility of the School to do this, and the
vitality with which its activities help shape a more humane and informed
world, remains a strategic goal for the School. Interest from the Provost,
Dean Plyler, and the various regional campuses of the USC System in
hosting performances by School entities is but one successful actualization
of an objective that serves this goal. The School has made much progress
on this continuing goal by realizing more opportunities to share the great
work done by faculty and students here both more broadly in the US and
throughout the state, but also by hosting more events on the USC campus
that bring excellent musicians to the School’s facilities and to the School’s
culture. More remains to be done, especially with actualizing a more
vigorous on-line publicity presence and more media connections as
indicated in 2011-12 Goal 3 above. The School’s March 2012 hiring of
its new Media Relations and Web Content Writer, will provide the
necessary attention to these endeavors, as well as to national story-telling
of the school’s notable achievements.
The pursuit and fulfillment of the musical performance objectives of this
goal are in concert with the unique and purposeful commitments the
School has developed with Community Engagement/Service-Learning
16
both to serve its mission and to correlate to USCConnect. Fulfillment of
actions inherent in the pursuit of this goal is also a direct measure of the
University’s greater success with Focus Carolina’s fifth goal, Recognition
and Visibility. In fact, the initiatives and actions planned towards the
attainment of this goal are some of the very ones articulated in the
annotation of the Recognition and Visibility goal on the Focus Carolina
website:
”Accomplishments of students, faculty, staff and alumni will be
showcased and publicized such that the campuses are recognized
for excellence and leadership in education, research, scholarship,
creative endeavors, athletics, and public service, consistent with
their respective missions.”
III. UNIT STATISTICAL PROFILE
1. Number of entering freshman for classes Fall 2008, Fall 2009, Fall 2010, and Fall 2011
and their average SAT and ACT scores
Entering
Average
Freshmen
SAT/ACT
Fall 2008
91
1156 / 26
Fall 2009
81
1163 / 26
Fall 2010
89
1177 / 25
Fall 2011
88
1182 / 27
2. Freshman retention rate for classes entering Fall 2008, Fall 2009, Fall 2010.
Fall 2008
88.7 %
Fall 2009
83.3 %
Fall 2010
79.5 %
3. Sophomore retention rate for classes entering Fall 2007, Fall 2008, Fall 2009.
Fall 2008
88.8 %
Fall 2009
94.5 %
Fall 2010
86.0 %
4. Number of majors enrolled in Fall 2008, Fall 2009, Fall 2010, and Fall 2011 by level
(headcount and FTE; undergraduate, certificate, first professional, masters, doctoral)
Majors
Fall
Fall
Fall
Fall
2008
2009
2010
2011
Undergraduate
318
325
319
317
Masters
69
65
64
68
Certificate
8
10
9
7
Doctoral
60
62
69
70
Total
455
462
461
462
17
5. Number of entering first professional and graduate students Fall 2008, Fall 2009, Fall
2010, and Fall 2011 and their average GRE, MCAT, LSAT scores
Entering
Average GRE
Grad
Verbal
Quantitative
Fall 2008
37
485
526
Fall 2009
37
502
532
Fall 2010
43
471
539
Fall 2011
41
475
511
6. Number of graduates in Fall 2010, Spring 2011, and summer 2011 by level
(undergraduate, certificate, first professional, masters, doctoral) and placement of
terminal masters and doctoral students.)
Graduates
Fall 2010
Spring
Summer
2011
2011
Undergraduate
20
55
4
Masters
4
16
4
Certificate
1
1
0
Doctoral
3
7
2
Total
28
79
10
7. Four-, Five-, and Six-Year Graduation rates for the three most recent applicable classes
(undergraduate only)
2003
2004
2005
4 year
36.3%
46.4%
49.3%
5 year
69.2%
68.1%
61.3%
6 year
74.7%
73.9%
72.9%
8. Total credit hours generated by your unit regardless of major for Fall 2009, Spring 2010,
and Summer 2010.
Credit Hours
Fall 2010
Spring
Summer
2011
2011
Undergraduate
7320
5990
141
Masters
610
604
49
Doctoral
450
469
98
Total
8380
7063
288
9. Percent of credit hours by undergraduate major taught by faculty with a highest terminal
degree.
Fall 2010
Spring 2011
Summer 2011
Terminal Degree
65.8 %
58.3 %
68.5 %
10. Percent of credit hours by undergraduate major taught by full-time faculty.
Fall 2010
Spring 2011
Summer 2011
18
Full-Time Faculty
75.2 %
71.9 %
68.5 %
11. Number of faculty by title (tenure-track by rank, non-tenure track [research or clinical] by
rank) for Fall 2009, Fall 2010, and Fall 2011 (by department where applicable).
Fall 2009
Fall 2010
Fall 2011
Tenure-Track
Professor
18
18
16
Assoc. Professor
9
12
17
Asst. Professor
17
14
9
Non Tenure-track
Adjunct/Instructors
20
24
23
12. Current number and change in the number of tenure-track and tenured faculty from
underrepresented minority groups from FY2010. 0 – no change
SCHOLARSHIP, RESEARCH, CREATIVE ACCOMPLISHMENTS
1. The total number and amount of external sponsored research proposal submissions by
agency for FY2011. 0
2. Summary of external sponsored research awards by agency for FY2011. 0
3. Total extramural funding processed through Sponsored Awards Management (SAM) in
FY2011, and Federal extramural funding processed through SAM in FY2011.
0
4. Amount of sponsored research funding per faculty member in FY2011.
5. Total sponsored research expenditures per tenured/tenure-track faculty for FY2011.
6. Number of patents, disclosures, and licensing agreements in fiscal years 2009-11. 0
CONTINUING EDUCATION
Total continuing education units and continuing education activity generated for Fall
2010, Spring 2011, and Summer 2011.
Fall 2010
Total CEU #s
0
Spring 2011
0
Sum 2011
47
APPENDIX
1. Placement of graduate students, terminal masters, and doctoral students, for the three
most recent applicable classes.
87% of all MM, DMA, and PhD graduates from the 2009 cohort were placed in full-time
music positions, from college faculty posts, to doctoral study, to public and private school
teaching positions to musical employment as performers.
The 2010 cohort was 85.6 %, statistically no different than 2009.
The 2011 cohort was placed in similar positions at a rate of exactly 100%.
19
2. Number of undergraduate and graduate credit hours in Fall 2010, Spring 2011, and
Summer 2011, stated separately, taught by tenured and tenure-track faculty, by
instructors, by non tenure-track faculty (clinical and research), by temporary faculty
(adjuncts), by full-time faculty, and faculty with terminal degrees.
Tenured/
TenureTrack
Non-tenure
Track
Adjunct/PT
Full-time
Terminal
Degree
Fall 2010
UGrad Grad
2189
1252
Spring 2011
UGrad
Grad
2208
1141
915
586
2428
1000
354
2078
126
142
1313
118
77
1065
Summer 2011
UGrad
Grad
108
147
9
74
154
Faculty Hiring/Retention and Ph.D. Programs
1. Number of faculty hired and lost for AY 2009, AY 2010, AY 2011. Give reasons for
leaving.
Faculty
Faculty Lost
Reasons for leaving
Hired
AY
0
2
Relocation/Retirement
2009
(Modica/Copenhaver)
AY
2
2 (Hoyt/Bates)
Not
2010
tenured/Retirement
AY
1
TERI Retirement
2011
2. Number of post-doctoral scholars (Ph.D., non faculty hire) in FY2009, 2010, 2011.
0
3. Anticipated losses of faculty by year for the next five years. (Supply reasons for
departure if known). Describe planned hiring over the next five years.
Loss of
Reasons for
Faculty
leaving
2011
Douglas
retirement
2012
2013
2014
2015
20
December 31, 2009 Review of 'E' Funds Net Operating Position
Run File Date: December 31, 2009
Rsp
59
Dept
Fund
12550E150
Dept Fund Description
RESEACH INCENTIVE
59
12550E400
CAROLINA ALIVE
59
12550E402
CONDUCTORS INSTITUTE
59
12550E411
59
12550E412
59
12550E413
59
12550E414
59
59
Beginning
Fund
Balance
53.03
Revenue
0.00
Net
Transfers
0.00
Net
Expenditures
0.00
Ending
Fund
Balance
53.03
154.19
0.00
0.00
0.00
154.19
60,922.87
1,300.00
0.00
11,087.38
51,135.49
ALL STATE AUDITION RECORDINGS
8,258.84
1,591.20
0.00
220.03
9,630.01
CHILDREN'S MUSIC DEVELOPMENT
CENTER
COMMUNITY MUSIC PROGRAM
27,801.29
2,815.00
0.00
7,775.73
22,840.56
71,585.57
30,032.00
0.00
33,096.90
68,520.67
1,646.43
160.00
0.00
734.00
1,072.43
12550E415
PALMETTO PANS/WEST AFRICAN
ENSEMBLE
RECITAL HALL USE FEE
24,739.97
6,680.29
0.00
7,234.74
24,185.52
12550E416
RECORDING TECHNOLOGY
15,981.42
6,374.00
0.00
7,854.12
14,501.30
59
12550E418
STRING PROJECT
28,447.58
15,005.00
0.00
-6,925.09
50,377.67
59
12550E419
DEAN'S ACCOUNT
28,328.66
0.00
0.00
2,715.38
25,613.28
59
12550E420
SUZUKI
-207.83
0.00
0.00
0.00
-207.83
59
12550E421
PIANO ACCOMPANYING
17,718.00
1,275.00
0.00
0.00
18,993.00
59
12550E422
INTERNATIONAL SPANISH MUSIC CLASS
59
12550E423
CAROLINA SUMMER MUSIC CONFERENCE
59
12550E424
NEW HORIZONS BAND
59
12550E700
MUSIC STUDENT COMPUTER FEE
59
46500E400
CHOIR SPECIAL ACCOUNT
59
46600E100
INSTRUMENT RENTAL & INSURANCE
59
46600E102
v
TOTAL
0.00
0.00
0.00
0.00
0.00
5,366.20
0.00
0.00
6,034.77
-668.57
1,590.67
4,100.00
0.00
4,285.61
1,405.06
50,973.39
0.00
0.00
56,400.37
-5,426.98
34,637.69
6,561.00
0.00
250.00
40,948.69
18,063.35
10,602.00
0.00
25,104.29
3,561.06
47,697.97
700.00
0.00
36,293.21
12,104.76
443,759.29
87,195.49
0.00
192,161.44
338,793.34
21
December 31, 2010 Review of 'E' Funds Net Operating Position
Run File Date: December 31, 2010
Rsp
59
59
59
59
59
Dept
Fund
12550E150
12550E400
12550E402
12550E411
12550E412
59
59
12550E413
12550E414
59
59
59
59
59
59
59
59
59
59
59
59
59
12550E415
12550E416
12550E418
12550E419
12550E420
12550E421
12550E422
12550E423
12550E424
12550E700
46500E400
46600E100
46600E102
Dept Fund Description
RESEACH INCENTIVE
CAROLINA ALIVE
CONDUCTORS INSTITUTE
ALL STATE AUDITION RECORDINGS
CHILDREN'S MUSIC DEVELOPMENT
CENTER
COMMUNITY MUSIC PROGRAM
PALMETTO PANS/WEST AFRICAN
ENSEMBLE
RECITAL HALL USE FEE
RECORDING TECHNOLOGY
STRING PROJECT
DEAN'S ACCOUNT
SUZUKI
PIANO ACCOMPANYING
INTERNATIONAL SPANISH MUSIC CLASS
CAROLINA SUMMER MUSIC CONFERENCE
NEW HORIZONS BAND
MUSIC STUDENT COMPUTER FEE
CHOIR SPECIAL ACCOUNT
INSTRUMENT RENTAL & INSURANCE
BAND CAMP
TOTAL
53.03
154.19
42,731.46
8,849.71
16,303.50
0.00
0.00
13,973.00
0.00
11,765.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
702.18
0.00
5,690.36
53.03
154.19
56,002.28
8,849.71
22,378.14
38,038.56
1,434.14
28,026.00
450.00
0.00
0.00
14,149.87
1,119.61
51,914.69
764.53
13,418.30
17,579.49
48,143.50
24,383.88
-207.83
21,468.00
0.00
3,313.51
1,061.69
54,826.18
41,512.53
5,069.95
35,395.44
5,074.00
8,999.00
10,658.28
0.00
1,220.00
750.00
0.00
100.00
7,225.00
2,209.40
2,815.00
9,210.00
-638.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
16,405.00
0.00
0.00
0.00
1,953.10
5,591.29
-4,793.78
0.00
0.00
0.00
0.00
5,276.08
6,437.32
67,208.88
513.50
11,167.60
29,780.57
16,539.20
20,987.20
63,595.56
24,383.88
1,012.17
22,218.00
0.00
-1,862.57
1,849.37
6,231.70
43,814.03
3,112.35
4,976.87
373,529.23
101,836.68
16,405.00
144,796.58
346,974.33
December 31, 2011 Review of 'E' Funds Net Operating Position
Run File Date: December 31, 2011
Rsp
Dfund
Dfund Description
59
12550E150 RESEACH INCENTIVE
Beginning Fund
Balance
53.03
Revenue
0.00
Net
Transfers
0.00
Net
Expenditures
4.50
Ending
Fund Balance
48.53
154.19
0.00
0.00
0.00
154.19
59
12550E400 CAROLINA ALIVE
59
12550E402 CONDUCTORS INSTITUTE
62,485.05
-600.00
0.00
2,099.39
59,785.66
59
12550E411 ALL STATE AUDITION RECORDINGS
8,849.71
0.00
0.00
0.00
8,849.71
59
12550E412 CHILDREN'S MUSIC DEVELOPMENT
CENTER
12550E413 COMMUNITY MUSIC PROGRAM
21,290.22
12,684.00
0.00
8,358.73
25,615.49
47,785.39
15,708.25
3,825.00
8,137.68
59,180.96
59
59
597.29
50.00
0.00
184.12
463.17
59
12550E414 PALMETTO PANS/WEST AFRICAN
ENSEMBLE
12550E415 RECITAL HALL USE FEE
15,810.14
6,025.00
0.00
3,095.74
18,739.40
59
12550E416 RECORDING TECHNOLOGY
17,873.49
6,170.00
0.00
5,710.51
18,332.98
59
12550E418 STRING PROJECT
55,631.07
7,999.24
0.00
-10,314.59
73,944.90
59
12550E419 DEAN'S ACCOUNT
24,383.88
0.00
0.00
0.00
24,383.88
59
12550E420 SUZUKI
6,846.24
18,420.85
-3,825.00
15,323.07
6,119.02
59
12550E421 PIANO ACCOMPANYING
23,418.00
450.00
0.00
0.00
23,868.00
59
12550E424 NEW HORIZONS BAND
1,227.87
6,490.00
0.00
5,478.24
2,239.63
59
12550E700 MUSIC STUDENT COMPUTER FEE
49,496.88
0.00
16,920.00
46,810.99
19,605.89
59
46500E400 CHOIR SPECIAL ACCOUNT
13,614.03
0.00
0.00
1,250.00
12,364.03
59
46600E100 INSTRUMENT RENTAL & INSURANCE
-1,723.47
10,410.00
0.00
21,371.42
-12,684.89
59
46600E102 BAND CAMP
25,979.22
53.20
0.00
32,563.15
-6,530.73
376,455.59 86,775.54 16,920.00 145,673.07 334,478.06 TOTAL
22
GIFTS:
$1,330, 614.04